Cheap Vampyr (DVD) (Julian West) (Carl Theodor Dreyer) Price
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| ACTORS: | Julian West |
| CATEGORY: | DVD |
| DIRECTOR: | Carl Theodor Dreyer |
| THEATRICAL RELEASE DATE: | 01 January, 1931 |
| MANUFACTURER: | Image Entertainment |
| MPAA RATING: | Unrated |
| FEATURES: | Black & White |
| TYPE: | Foreign Film - German |
| MEDIA: | DVD |
| # OF MEDIA: | 1 |
| UPC: | 014381430820 |
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Customer Reviews of Vampyr
One of the great horror films Directed in France by the legendary Danish director Carl Dreyer,Vampyr is not only one of the best horror films but also probably one of the greatest films ever made. Unlike the American horror pictures like Frankenstein that were being made at the same time, Vampyr has relatively little action but a sustained atmosphere of strangeness like that of few other movies. The action takes place during one night and the entire film has a slow, trance-like quality. The picture quality of the DVD is vastly superior to that of the older videotapes--the film was photographed by the great Rudolph Mate--but the sound recording is shaky at the best, and the dialogue is hard to follow even for someone who understands German. The music comes across more effectively but is boomy in some passages--it's a good idea to reduce the bass before viewing. The DVD like an earlier video has quite large subtitles in Gothic type--designed I think to eliminate Danish subtitles--which unfortunately mask a third or so of the picture in some shots.
Great Transfer - Annoying Subtitles
Another release from the same folks who produced "Nosferatu" (Film Preservation Assosiates/Blackhawk Films). Excellent print transfer to DVD (and VHS)! I have seen several versions of VAMPYR and this DVD (and VHS version) are by far the best available. Much of VAMPYRS' "poor production" IS intentional, so consider this fact when reading other comments regarding print quality. This is about as good as it's gonna get! BUT I'd like to know who in the F.P.A. is responsible for allowing the atrocious subtitles (same is true for NOSFERATU)????!!! They should be taken out and covered in flour or fully exposed to the sun on a hot summer day! The gothic fonts are not easy to read and Dryer is Danish NOT German! The original (and very cool) opening titles have been replaced with a psuedo aged effect that is not necessary and in some scenes, the subtitles are really huge and also not necessary. What were they thinking??? Obviously, not much! Hey guys, leave the cutesy stuff for another day and just give up the facts! So for you, dear reader: if you can forgive them for annoying subtitles, then this version is well worth the investment!
dreampyr
What's truly unnerving about Vampyr is it's not so much about monsters
as psychic monstrosity. Most movies objectify our fears and horrors,
materializing them into goblins, slashers, vampires, and whatnot. In
Vampyr, we are to forced to confront our state of mind, our fears as
they surface and take shape, then dissolve, then return to haunt us
yet again.
In most vampire movies, dracula is a frightening creature, a prince of
the dead. He's a badass but can be scared off with garlic or killed
with a wooden stake. In Vampyr the horror is really the fascinating
but dreaded border between life and death, even between waking life
and sleep. This horror is both elusive and omnipresent(therefore more
unsettling) because it shows how imperceptively we slip from life into
death, from wakened state to helpless slumber. Vampyr charts out that
vast but intangible territory between being alive and dead, being
alert and dreaming. It's cinema as hypnosis, even beyond cinema as
meditation of, say, Tarkovsky. (Though I didn't much care for Dead Man
by Jarmusch, I thought, at its best, there were Dreyerian touches;
namely that white man can only think of life and death in violently
dialectical terms whereas for the Indian there is no clear boundary
between the two; thus, white man Depp's slip into death as guided by
the Indian becomes truly epic)
I think among the great filmmakers, only a handful had talent
comparable to Dreyer's. Mizoguchi was one. Ugetsu, like Vampyr, puts
us in a trance and til it's over we're transfixed. The effect on the
audience is total, musical. Kurosawa was one of the greatest but his
images never accumulated this kind of power. Kurosawa's films were
houses constructed of wood whereas Mizoguchi's films are trees
themselves. Organic and alive. Bresson was perhaps another one yet
his ascetic aesthetic sometimes went for threadbare expression that
remained too stark and cerebral to attain the kind of power in films
such as Passion of Joan of Arc and Vampyr.